Although there are still more films of his that I haven't seen than I have as of this writing (I'm catching up, though), when someone mentions Italian horror, the first name that I usually think of is Mario Bava.

I've consistently enjoyed Bava's films more than his Italian competitors - Dario Argento, Lucio Fulci, Ruggero Deodato, etc. - and Baron Blood is no exception. Although I like his competitors' films to an extent, and they all have masterpieces of their own, Bava seems to be more focused on his films' construction as a whole--the plot, the characterizations, the dialogue, etc. are all as important as the gore and style.(read more...)

As usual, Terence Fisher and Hammer Studios take a concept already done exquisitely by Universal in the 30s and 40s and make it their own. This film stands out among a long hallmark of werewolf movies, going for the straight dramatic content of lycanthropy rather than the sensationalism.(read more...)

While it's not nearly as successful as its predecessor, I Know What You Did Last Summer (I Know), I Still Know What You Did Last Summer (I Still Know) is an entertaining, atmospheric and tense film with a couple prominent, unfortunate, ugly warts.(read more...)

Though not the grand spectacle of horror that the later Wolf Man would be, The Werewolf of London still stands out as a fine effort from Universal. Then again, what 1930s Universal chiller doesn't qualify as a classic?(read more...)

Rock 'n' Roll Nightmare is an atrocious but fun schlocker that contains a few surprises, not the least of which is that director John Fasano is still in the business, but as a writer. He actually co-penned Another 48 Hours, Universal Soldier: The Return, and Judge Dredd.(read more...)

Director John Irvin's 1981 film, Ghost Story, based on a novel by horror fiction icon Peter Straub, is a charming but eerie sojourn into a niche of horror that covers most of the stylistic bases of the genre. It does so in a deceptively simple way that almost demands multiple viewings; each time you watch you're likely to appreciate the film and its atmosphere even more, like nestling further into the ephemeral folding spirals of a numinous chambered nautilus.(read more...)

A retelling of a pair of Edgar Allan Poe stories by two master directors of the horror genre, Two Evil Eyes consists of separate, although thematically related, short films, one by George A. Romero and one by Dario Argento. Either could easily stand on its own.

Both Romero's story choice, "The Case of M. Valdemar," and Argento's, "The Black Cat," were adapted for the silver screen by Roger Corman in his 1962 film, Tales of Terror. Seminal low-budget shocker director Edgar G. Ulmer also lensed an elaborated version of "The Black Cat" in 1934.(read more...)

Yes, it's another slasher film, it has a teen cast, there's an emphasis on campy humor, and it's not an unprecedented plot. But who cares? Dr. Giggles is the perfect example why a good film isn't dependent on novel elements. A quality script, executed by a quality cast and crew does the trick. I loved this film while watching it and had absolutely no complaints. I can't say it's a must see for someone who only a few films a month -- it's excellent, but not more important to see than, say, The Evil Dead.(read more...)

Maybe I'm just too dense to get it and Scream is a subtle masterpiece about something - who knows what - but my guess is that it just sucks.

First off, no, it isn't thatScream, in case you ended up here by mistake. This film, rather than spawning sequels and kickstarting quite a few careers, was made by a then and now unknown producer, director and writer (using those terms liberally) Byron Quisenberry, and seems to have killed quite a few careers. Certainly, that fact is much more horrific than anything you're likely to see on your television screen while watching this mess.(read more...)